Recorded at E.V.S. Studios, Oraison, France
Recorded, mixed, and produced by Jean-Paul Avellaneda
Mastered by Jean-Michel Bouillot at Nerves Wall of Sound
Excecutive producer: Jean-Paul Avellaneda for Tempo Ass.

Growing up in Alabama, Indiana and Texas, Billy C. Farlow drew his inspiration from both black and white musicians. In his early teens he learned the guitar and harmonica. He wasn't satisfied with simply mastering renditions of the classics. His musical ear and attraction to poetry combined to form original blues, gospel, and rock 'n' roll tunes.

In the early 60's, the Farlow family moved to Detroit. Here he began hanging out and jamming with artists such as Sippie Wallace, Big Joe Williams, and John Lee Hooker. In the fall of 1966, Billy C. formed his first band. They opened for Cream at the Grande Ballroom. The next year he joined the band of blues drummer Sam Lay, following the death of harmonica master, Little Walter Jacobs, who was with the band at the time. In 1969 he moved to California with Commander Cody & His Lost Planet Airmen. Their twisted brew of roots music went well with the mind-expanded hippies. The band opened for Jefferson Airplane, The Grateful Dead, The Doors, Eagles, and many others. The band recorded multiple LP's with Paramount Records and Warner Brothers' Records, and even scored a top ten hit in 1972 with the classic “Hot Rod Lincoln”. Billy C. penned many of the bands best known songs, such as 'Too Much Fun', 'Seeds and Stems' and the band's theme song, 'Lost in the Ozone'. The band broke up in 1976.

In the mid-1980's Billy C. relocated to the South where he recorded five CD's of original songs over a 12-year period for various labels. Increased touring, both in the U.S. and Europe followed. Today Billy C. is as busy as ever, traveling the world, spreading his musical gospel where ever he goes, and having one hell of a time! Regardless of where Billy C. Farlow's travels take him, the rhythm and blues of his deep Southern roots stay firmly imbedded in his soul.

On “Alabama Swamp Stomp”, his CrossCut Records debut, he's joined by his friends from Mercy, a blues/roots trio from the South of France. The band's mastermind, J.P. Avellaneda, has produced the album, co-written a couple of tunes, and recorded the studio session. With its tight ensemble play, a steady groove and beat, the band's supplying the perfect, greasy soil for Billy C.'s swamp-drenched blues and r&b.

The opening track is a tough slab of blues, and Josh follows it with a 60s soul-inflected number – he is convincing at both, and any doubting Thomases should take a listen to the tough, B.B. King inflected blues of “The Way You Do”, an original with fine Iyrics, strong vocal, excellent guitar work, fine horns and an on-the-button rhythm section; for an even better soul item, try the driving “You And Me (Don't Belong Together)”. For a gritty blues pounder, try the title track with its John Lee Hooker inspiration, or “Sober Up Baby” for some Magic Sam flavours. In fact, try any track on what turns out to be a very impressive set of blues and soul.

Blues In Britain
2011-08
Norman Darwen

“Well – it doesn’t take all night – just the length of this CD to join Billy C. Farlow and Mercy as they “get funky and shake it on down” (“Juke Joint Friday night”) exhorting you to “just make your body move like an alligator, then you testify like John the Revelator” as you do the “Alligator Crawl”, on the aptly titled “Alabama Swamp Stomp”
With his gravelly vocals, steamy harp and the backing of Mercy who inspire Farlow to moan “Ohhh, that feels sooo gooood! Yeah! Shake it for all you’re worth, you river witches!” … Farlow delivers a set that conjures up steamy nights at a jook joint in the swamp … drinking Jack Daniels and ice-cold beer … eating “’tater salad & devilled eggs” … whilst pleading with your lady to “Hitch Me To Your Wagon And Drive Me Like A Mule” … this is just a typical “Tennessee Saturday Night”.

Billy's vocals sound lived-in and full of experience, and his harmonica playing is fine without being flashy.

Rock'n'Reel #30
2011-11
Norman Darwen

(…) contains lazy, sinuous, swampy sounds such as 'Snake Eyes', slightly spooky songs in the vein of Doctor John (try 'Magnolia Darlin”), and good timin' down-home material – 'Drive Me Like A Mule' and the rocking, Little Walter-ish 'Juke Joint Friday Night' are good examples – whilst 'Good Rockin' Mama' is, contrary to exectation, a slide-guitar driven slow- to mid­tempo Blues. Other tracks have hints of southern rock, country or R&B (one is even in French), but realistically I cannot imagine any readers being disapointed with this one: interesting and very, VERY enjoyable.